DANIELA CUNHA BLANCO

This thesis seeks to think about the construction of a specific method in Jacques Rancière that we call archaeological scene. Starting from the distance in relation to the thought of Louis Althusser, going through a critical approach in relation to the thought of Michel Foucault, Roland Barthes and Jacques Derrida, our hypothesis is that the archaeological scene in Rancière would refuse the gesture of referring every event to a causal line and a totality, pointing to the need to think about philosophy and history from the perspective of contingency. Rancière opposes Althusser’s idea of totality and the division between two humanities with another field of thought that moves away from certain metaphysical categories. The approach towards Foucault, Barthes and Derrida occurs as a gesture that mimics the refusal of metaphysical thinking already operated by these authors. From the construction of some scenes around Rancierian art regimes, we seek to understand how the notions of subject and representation are deconstructed by the author, pointing to a dialogue with the theme of the death of the author and the subject and also with the dissolution of representation.